Friday, May 22, 2026 · Updated Friday, May 22, 2026
The image shows a display case containing a collection of rusty iron chains and shackles, likely used during the Atlantic slave trade. The objects are mounted against a white background inside the case. The shackles appear to be of different sizes and designs. A small sign is attached to the bottom left, indicating the objects are from the Trans-Atlantic slave trade. The case is framed in white. There is no other evidence to determine location.
The image shows a sculpture of a group of people in a line, presumably depicting slavery. Some are chained together, and one is carrying a load on their head. The figures are dark-colored and appear to be made of bronze or a similar material. The sculpture is displayed on a platform against a white wall with a sign above it. The sign says "GANG SLAVE". The location is Unknown, Unknown.
Unknown, Unknown · May 22, 2026, 10:30 AM · 9.5k attention
The image shows a sculpture of a group of people in a line, presumably depicting slavery. Some are chained together, and one is carrying a load on their head. The figures are dark-colored and appear to be made of bronze or a similar material. The sculpture is displayed on a platform against a white wall with a sign above it. The sign says "GANG SLAVE". The location is Unknown, Unknown.
The image shows a display of two framed prints on a wall, likely within a gallery or museum setting in Unknown, Unknown.
The top print is a color painting depicting a historical scene with a crowd of people. Some individuals appear to be enslaved, while others are dressed in formal attire, suggesting a historical context related to emancipation or abolition.
The bottom print is a monochrome illustration, possibly a lithograph, titled "THE EAST AFRICAN SLAVE TRADE. RESCUED FEMALE SLAVES AND CHILDREN QUESTIONED ON BOARD A BRITISH SHIP OF WAR." It portrays a group of women and children, presumed to be rescued slaves, being questioned by men in uniform, presumably British officers.
Textual information is also present, including reference codes "LA/21/MTAC/066/4/0115" and "1/MTAC/066/4/01/6" below the respective prints, and a placard stating, "The American civil war provided the opportunities for some slaves who fought for the Northern America to be freed." The environment appears to be a well-lit, indoor space, with the wall painted in a light color.
Unknown, Unknown · May 22, 2026, 11:02 AM · 7.5k attention
The image shows a display of two framed prints on a wall, likely within a gallery or museum setting in Unknown, Unknown.
The top print is a color painting depicting a historical scene with a crowd of people. Some individuals appear to be enslaved, while others are dressed in formal attire, suggesting a historical context related to emancipation or abolition.
The bottom print is a monochrome illustration, possibly a lithograph, titled "THE EAST AFRICAN SLAVE TRADE. RESCUED FEMALE SLAVES AND CHILDREN QUESTIONED ON BOARD A BRITISH SHIP OF WAR." It portrays a group of women and children, presumed to be rescued slaves, being questioned by men in uniform, presumably British officers.
Textual information is also present, including reference codes "LA/21/MTAC/066/4/0115" and "1/MTAC/066/4/01/6" below the respective prints, and a placard stating, "The American civil war provided the opportunities for some slaves who fought for the Northern America to be freed." The environment appears to be a well-lit, indoor space, with the wall painted in a light color.
The image shows a statue of a man with four arms breaking chains, located in a grassy area. The sky is overcast, and there are several buildings and trees in the background. A utility pole and power lines are visible on the right side of the frame. The inscription "Park" can be seen on the base of the statue. The city is Unknown, Unknown.
Unknown, Unknown · May 22, 2026, 10:00 AM · 0.5k attention
The interior of a museum is visible, with wooden floors and white walls. On display are various framed artworks hung on the walls and two displays in the foreground. The first display features a conical, multi-colored woven object resting on a white pedestal. Behind it, another display includes two tall, cylindrical wooden carvings with painted figures. A doorway with a wooden frame is visible in the background. The location is identified as a museum in the city of Unknown, Unknown.
Unknown, Unknown · May 22, 2026, 11:10 AM · 0.5k attention
The image shows a statue of a man with four arms breaking chains, located in a grassy area. The sky is overcast, and there are several buildings and trees in the background. A utility pole and power lines are visible on the right side of the frame. The inscription "Park" can be seen on the base of the statue. The city is Unknown, Unknown.
The image shows a collection of five framed photographs mounted on a white wall. The photographs depict various aspects of religious shrines and devotees in Brazil, including "Lamanja Shrine in Brazil" and "Xango Shrine in Brazil". The photographs feature both indoor and outdoor scenes with individuals participating in religious rituals. A light switch is visible at the top of the wall. The wall and floor are visible, indicating the indoor setting of the photograph. Each photograph has a small text label underneath and a printed code in the top right corner, such as "LA/21/MTAC/066/4/0123". The image provides no additional details about the location.
Unknown, Unknown · May 22, 2026, 11:03 AM · 0.0k attention
The image shows a framed painting of a camel caravan in a desert environment. The foreground features three camels, one of which is lying down with goods on its back. Two men in robes stand nearby. Further back, more camels and people are visible. Palm trees dot the landscape in the background. In the lower right corner of the frame, white lettering reads "LA/21/MTAC/0664/09." The painting is hanging on a white wall with peeling paint at the bottom. The city and location are unknown.
A framed print depicting a group of enslaved people being led by a slave owner. The enslaved people are mostly unclothed, some wearing white fabric wraps around their waists. Many of them are chained together by their necks and hands with a thick stick and ropes. Two young children are also walking among the group. A slave owner is present holding a rifle and wearing a large hat and coat. Another person with a whip is behind the group. The location of the image is Unknown, Unknown.
The interior of a museum is visible, with wooden floors and white walls. On display are various framed artworks hung on the walls and two displays in the foreground. The first display features a conical, multi-colored woven object resting on a white pedestal. Behind it, another display includes two tall, cylindrical wooden carvings with painted figures. A doorway with a wooden frame is visible in the background. The location is identified as a museum in the city of Unknown, Unknown.
A medium shot of a framed artwork titled "Trade Route" displayed on a white wall in a building in Unknown, Unknown. The artwork depicts a group of dark-skinned individuals, some carrying objects, walking together. One individual stands apart, holding what appears to be a staff. The artwork is in a dark frame and has the inscription "LA/21/MTAC/066/4/010" on the bottom right corner. Underneath the artwork is a small sign labeled "Trade Route." Below the sign is another framed artwork, partially visible at the bottom of the image. A streak of dirt or stain is on the wall next to the frame on the right side.
Unknown, Unknown · May 22, 2026, 10:21 AM
The image shows a collection of five framed photographs mounted on a white wall. The photographs depict various aspects of religious shrines and devotees in Brazil, including "Lamanja Shrine in Brazil" and "Xango Shrine in Brazil". The photographs feature both indoor and outdoor scenes with individuals participating in religious rituals. A light switch is visible at the top of the wall. The wall and floor are visible, indicating the indoor setting of the photograph. Each photograph has a small text label underneath and a printed code in the top right corner, such as "LA/21/MTAC/066/4/0123". The image provides no additional details about the location.
This image shows a document describing the exploration of the West African coast by the Portuguese, starting with Prince Henry the Navigator and continuing after his death in 1460. The text details how the coast was divided for trade purposes into Upper and Lower Guinea, and then further subdivided into the Grain Coast, Ivory Coast, Gold Coast, and Slave Coast, named after their principal exports. The descriptions include the modern-day locations associated with each coast and the resources or commodities of interest to the Portuguese. The image was presumably taken in the city of Unknown, Unknown.
The image shows two framed pictures hanging on a white wall. The top picture depicts a group of people walking through a grassy area with trees in the background. Some of the people are carrying objects on their heads or shoulders. The bottom picture, labeled "Captured Slave," shows four men carrying a long object on their shoulders. The pictures are labeled with codes: "LA/21/MTAC/066/4/0/1" and "LADIUNTAC 066/4/006". The location is specified as "Unknown, Unknown."
The image shows five framed artworks hung on a white wall in an indoor setting, possibly a gallery or museum. The artworks are arranged in two rows, with three pieces in the top row and two in the bottom row. The top row features three portrait paintings of men, while the bottom row contains two landscape or cityscape prints/paintings. All the artworks are framed in black. Each piece of artwork also has a small white label underneath it, potentially providing information about the artist or artwork. The lighting is somewhat dim, and the image is slightly blurry.
The image depicts a wall with framed pictures and information plaques in what appears to be a museum or historical exhibit. The pictures consist of portraits of two men, Bishop Samuel Ajayi Crowther and Candido J. Da Rocha, along with architectural scenes including churches and buildings in a Brazilian style in Unknown, Unknown. Plaques provide brief information about the subjects and locations.
The image depicts a framed illustration hanging on a white wall. The illustration portrays a historical scene involving a man emerging from a wooden crate, surrounded by other men in formal attire. The frame is black, and text, "LA/21/MTAC/066/4/0104," is visible on the left side of the frame. The location is Unknown, Unknown.
The image shows a sign reading "ABOLITION AND INTEGRATION" above a printed text panel on a white wall. The text panel is titled "THE SLAVE TRADE ENDS" and describes the events leading to the abolition of the British slave trade, highlighting the roles of abolitionists like Wilberforce and the passage of the Abolition of the Slave Trade Act in 1807. The text also mentions that other nations continued the trade in Africans after 1807 and that slavery remained in place in the British colonies surviving until 1838. The text ends by saying that the Atlantic's major slave trade henceforth became the Atlantic's major abolitionist power. The setting appears to be a museum or historical site.
The image shows a section of a white wall in an indoor setting, likely a museum or gallery. Four framed prints are hung on the wall. The top left print depicts two figures: one is a Black man with a sword, and the other is a white man with a gun aimed at the first figure. A label below reads: "LA/21/MTAC/066/4/0112 Nat Turner staged a one-man revolution that led to the death of tens of white slave owners." Below this print on the left, another print shows a group of bare-chested Black men. A label below reads: "LA/21/MTAC/066/4/0111 WAR FIGHTERS THEY ARE ALSO CALLED THE MAROONS MAROONS OF GUINEA IN A PLACE CALLED MANDINKA". There are two other prints on the right side of the image, only partially visible, with the labels: "LA/21/MTAC/066/4/0/14" and "LA/21/MTAC/066/4/01/3".
The image shows two framed paintings hanging on a white wall inside a building in Unknown, Unknown. The top painting depicts a group of people in what appears to be a courtroom or formal meeting. The bottom painting is a portrait of a man seated in a chair. To the right of the bottom painting is a white sign with the title "William Wilberforce" and a brief description below it. A partial word "LAMAN..." is visible on the right side of the image.
The image shows a wall in what appears to be a museum or gallery, labeled "BADAGRY" at the top. Two framed paintings are displayed on the wall. The painting on the left depicts a man in white attire standing near a figure draped in brown raffia or woven material. A group of seated men in white caps is visible in the background. The painting on the right depicts two men wearing traditional skirts jumping and playing a drum in front of palm trees and an abstract background. The floor below is made of wood. The walls are painted white.
Two framed sketches hang side-by-side on a white wall in what appears to be a gallery in Unknown, Unknown. The frames are black. The sketch on the left depicts a group of people seated, with others standing around a table. A person in the foreground faces away from the viewer. The sketch on the right shows a group of people in robes and other clothing; some are kneeling, and others are standing. Under each frame, there is a small label, with legible text on the left reading, "LA/21/MTAC/066/4/01/1. Sadagry White Cap Chiefs signing the abolition treaty with the British Government in 1852". The label on the right reads, "LA/21/MTAC/066/40140".
Unknown, Unknown · May 22, 2026, 11:07 AM
The image shows a framed artwork hanging on a white wall, likely inside a building. The artwork appears to be a pencil drawing depicting a scene of manual labor, possibly in a rural or historical setting. The drawing includes figures working with baskets, digging, and carrying materials. There is also an audience watching them. Due to reflections and glare on the glass, the details of the artwork are not entirely clear. A small label is affixed to the wall below the artwork. The location is Unknown, Unknown.
The image shows a framed poster hanging on a wall, featuring information about the first storey building in Nigeria, built in 1843 by Rev. Henry Townsend. The poster includes a black and white sketch of the mission house in Badagry, along with a color photograph of the building in the top right corner. The text on the poster describes the construction of the house, noting it was built of sound African wood, principally of what was called brimstone, and raised ten feet from the ground. The poster also mentions the stout and durable trees in the area and notes the dimensions of the house. The estimated cost was £325. The wall behind the poster is textured and painted white.
The image shows a framed photograph hanging on a wall. The photograph, taken in Badagry, Nigeria, in 1923, depicts the staff of the African Oil Nuts Company and Miller Brothers. A caption below the photograph identifies it as a Christmas photograph and mentions that Mr. & Mrs. Baxendale of Miller Brothers, a Liverpool-based company, are seated on the bench at the far right-hand side. The frame is ornate with a silver and black crackled pattern. The wall is a light, off-white color with some slight imperfections.
A person stands in front of a light green wall on which two framed pictures and a plaque are mounted. The framed pictures depict black-and-white portraits of Reverend Henry Townsend and Reverend Thomas Birch Freeman, respectively. The plaque between them provides a written description of Thomas Birch Freeman and his role in the growth of Christianity in Nigeria, including his mixed family background and the organization of the first Christmas service in Nigeria. The person seems to be observing the framed pictures and the plaque. The location appears to be indoors. The city is Unknown and the location is Unknown.
Two framed informational posters hang on a light green wall. The poster on the left displays an illustration of the first C.M.S. Church at Badagry, built in 1843, along with textual details. The poster on the right shows a black and white photograph of a two-story building and additional text about the first storey building in Nigeria, built in 1845.
The image shows a display of historical documents and portraits related to the Fourah Bay College and Bishop Samuel Ajayi Crowther, likely within a museum or educational setting, possibly located in Freetown, Sierra Leone.
On the left side is a poster with the title "FOURAH BAY COLLEGE, FREETOWN, SIERRA LEONE" featuring an image of the college building and a portrait of Samuel Ajayi Crowther. The poster provides information about the college's establishment in 1827 as an Anglican Missionary School and its significance as a magnet for education in British West Africa.
In the center, there is a framed piece titled "A PIECE PRESENTED BY REV. SAMUEL AJAYI CROWTHER ON THE GEOGRAPHICAL LANDMARK OF THE FIRST C.M.C. PARSONAGE IN BADAGRY, NIGERIA ON THE 27TH FEB. 1846." The piece includes a diagram or drawing of a geographical area and text describing the efforts to encourage agriculture among the natives.
To the right, there is another framed display with a portrait of "BISHOP SAMUEL AJAYI CROWTHER." Beside the portrait, there is a text discussing Crowther's life, his language abilities, and contributions.
Below these displays, there is a glass display case that appears to house old Bibles. The inscriptions read: "THE FIRST YORUBA BIBLE TRANSLATED BY Rev. S.A. Crowther" and "THE FIRST ENGLISH BIBLE Brought By The C.M.S. Missionary Rev Henry Townsend in 1841."
The displays are mounted on a light green painted wooden wall and the scene is illuminated, suggesting an indoor location.
